Leaving wanting more as Donner in Chicago

"American baritone Zachary Nelson, in his Lyric debut as Donner, god of thunder, makes what he can of an underwritten role whose only real purpose is to create a thunderstorm late in the production to literally clear the air. Nelson makes a striking figure with long wavy hair silhouetted against a stark background wielding his mighty hammer, and his voice makes us wish we could hear more from him." - Judith Singer- LA Splash Magazine

Success in Santa Fe Opera's "Don Pasquale"

"Malatesta is not usually played as such a nice guy on what seems like an innocent charade turned wrong, but Nelson makes it work. He has a creamy baritone voice that has deeper bass-like overtones. He sings with great ease and naturalness and is an able actor."-Gregory Sullivan Isaacs, Theater Jones

Making Them Laugh As Malatesta At The Santa Fe Opera

"Management of the SFO seems, rightfully, quite high on baritone Zachary Nelson, two years ago an apprentice and last year’s Figaro in “The Marriage of Figaro.” A talented comic actor with a smooth yet arresting baritone, Nelson returns again this summer to sing a delightfully textured and hilariously funny puppet-master as Dr. Malatesta. Artfully he instructs Norina how to play the part of an innocent maiden to entrap Pasquale into his plot."-D.S. Crafts, Albuquerque Journal

Being The Villain in Washington Concert Opera's "Guntram"

"Golden-throated baritone Zachary Nelson sang the duplicitous Herzog Robert with the kind of vehemence clad in vocal velvet that makes an operatic villain such a wondrous beast. Snarling threateningly in Act One, his singing of 'Verdammtes Volk, hab ich euch gefasst?' was thrilling, and his robust voice rocketed through the colossal textures of ensembles. An indefatigable fount of nastiness in Act Two, Mr. Nelson’s Robert was an ideal foil for the self-righteously devout Guntram. Strauss gave the character no redeeming qualities: his death in Act Two could hardly be mourned, but, depriving the audience of the pleasure of hearing a fantastic voice, Mr. Nelson’s absence in Act Three was lamentable."-Joseph Newsome, Voix de Arts

Proving himself at The Santa Fe Opera in "Le Nozze di Figaro"

"No, her heart belongs to Figaro; and who can blame her, since Zachary Nelson infused that endearing character with a similar measure of charm and allure, not to mention a warmly enveloping baritone. A year ago, he was an apprentice here, singing just a few lines as the prisoner Angelotti in Tosca; and now here he is proving himself a polished pro in one of opera’s leading roles. Oropesa is already undertaking important lyric parts at the Metropolitan Opera, and Nelson seems poised to follow her along the operatic fast track."=James M. Keller, Santa Fe New Mexican

Another Success as Renato at The Academy of Vocals Arts

"Zachary Nelson, was the embodiment of empathy and pathos as Sancho in Don Q last winter, just seethes as the jealous husband, standing over Amelia with his sword there is no doubt that there is consumed with revenge. The key dramatic arias, that continue to get into his heart of darkness is full-throated and baritone vibrancy without over singing. It is no surprise that this young baritone is racking up competition prizes and is this year's recipient of the Sarah Tucker Award."-Lew Whittington, Huffington Post

"Un Ballo In Maschera" at the Academy of Vocal Arts

"During his time studying at AVA, fourth-year baritone Zachary Nelson has delivered more than a few stellar performances, most recently in Don Quichotte. He has admirable range as a performer and was just as effective as the spurned Renato, whose disfiguring need for revenge transforms him into an assassin, as he was playing the comically quirky Sancho two months prior. His third act aria “Eri tu che macchiavi quell’anima”, when he decries the treachery of his own wife and a man he considered his best friend, was simply masterful. Bravo, Signore Nelson."-Gale Martin, Bach Tracker

Triumph in "Don Quichotte"

"Nelson, with lots of padding and a shaved head is just towering as Sancho. Massenet writes him the longest soliloquies Nelson 's baritone is just transcendent in this role. Punch drunk or bouncing woman off his big stomach like a stooge would, Nelson is just full of pathos equal to a completely electrifying vocal performance."-Lew Whittington, Huffington Post

Success as Mandryka in Strauss's Masterpiece "Arabella"

"Mandrykas do not grow on trees in any arena, and Zachary Nelson's tireless, fresh vocalism over three hours of hard singing proved pretty astonishing: he commands a powerful, attractive baritone that is solid from bottom to top: the part's rigors seemed to cost him little effort. This is definitely a singer to watch attentively. Dramatically he was plausible and impassioned..."-David Shengold, Opera News

Winning The George London Competition

"Zachary Nelson, 25, raged through “Nemico della patria” from Giordano’s “Andrea Chénier” with a rich, steady baritone that had more depth than most of the others in the competition. (It is easy to sound loud in the dry acoustic of the Morgan’s intimate Gilder Lehrman Hall and harder to sound deep.) Most important, Mr. Nelson captured the crucial element of verismo style: the emotion that is undoubtedly excessive but feels, in the moment, entirely right."- Zachary Woolfe, NYT

Germont in Lyric Opera of Virginia's "La Traviata"

"Baritone Zachary Nelson brought a huge voice and good acting skills to the role of Giorgio Germont, Alfredo’s rich, bourgeois father, liming his character’s concern with appearances and initial contempt for the woman who has snared his son. Nelson’s duet with Strauss Evrard was both dramatic and tender; and he made the most of that outstanding baritone aria, Di Provenza."- M.D. Ridge, Artsongupdate.org